Midnight at the Oasis Lyrics Maria Muldaur Maria Muldaur (born September 12, 1943) is a folk-blues singer who was part of the American folk music revival in the early 1960s. She recorded the 1974 hit song "Midnight at the Oasis," and continues to record albums in the folk traditions.

more » Midnight at the oasis Send your camel to bed Shadows painting our faces Traces of romance in our heads Heaven 's holding a half-moon Shining just for us Let's slip off to a sand dune, real soon And kick up a little dust Come on, Cactus is our friend He'll point out the way Come on, till the evening ends Till the evening ends You don't have to answer There 's no need to speak I'll be your belly dancer , prancer And you can be my sheik I know your Daddy 's a sultan A nomad known to all With fifty girls to attend him, they all send him Jump at his beck and call But you won't need no harem , honey When I'm by your side And you won't need no camel , no no When I take you for a ride Come on, Cactus is our friend He'll point out the way Come on, till the evening ends Till the evening ends Midnight at the oasis Send your camel to bed Got shadows painting our faces And traces of romance in our heads Midnight at the Oasis by Maria Muldaur Songfacts Midnight at the Oasis by Maria Muldaur Songfacts Songfacts This song was written by David Nichtern , a composer who also became

 a renown teacher of Shambhala Buddhism.

He told us the story of this song, which is one of the more sensual tunes you will come across. Said Nichtern: "I wrote the song before I started working with Maria... the details are a little bit intimate, but let's just say there was a girl, a waterbed, feta cheese and grape leaves, and a Martin 000-18 near by. I actually produced the demo (in Woodstock) that got Maria her Warner Bros individual artist deal, so I was on the map already with them to that extent. On that demo was a song I wrote called 'I Never Did Sing You a Lovesong' which made it onto the album but was re-recorded. Also we demoed a track that Wendy Waldman wrote called 'Mad Mad Me (I Love You)' which made it onto the album as it was so I got producer credit for that track. My memory is that I came out to LA and got to play rhythm guitar on several tracks. From there I got more and more involved with the record. At a rehearsal, I played 'Midnight at the Oasis' for Lenny Waronker and he liked it and wanted to include it on the record.

We recorded it with some great musicians - Jim Gordon on drums (who later went crazy and killed his own mother and went to prison for life I think). Freebo played bass, Mark Jordan on piano and me on acoustic guitar. Later, Famous Amos Garrett added that amazing electric guitar part and solo, which in some circles is as famous as the song itself. Warner's released the album and then Midnight as the first single... they hung in there with it for something like nine months until it took off.... that might not happen today... the rest is herstory as they say..." Maria Muldaur is an Italian singer who was born Maria D'Amato. Muldaur is to white female pop singers what Anita O'Day is to white female jazz singers: way hipper than the herd. She recorded in the '60s with the Even Dozen and Jim Kweskin jug bands and with her then-husband, Geoff Muldaur, before going out on her own with this 1973 recording. Sidemen include Jim Dickinson, Spooner Oldham, Jim Keltner, Mac Rebennack, Ray Brown, and Dave Holland.

Among the tunes on her self-titled album are Jimmie Rodgers' "Any Old Time," Dolly Parton's "My Tennessee Mountain Home," and the album's hit, "Midnight At The Oasis." >> Suggestion credit: Paul - Detroit, MI In our Maria Muldaur interview , she explained: I was making my first solo album for Warner Brothers in 1973, and I had just recently separated from my then-husband, Geoff Muldaur, who not only was my partner, but also my musical partner, and sort of the mastermind of, musically, whatever we did together. So being a solo artist was completely strange and alien and rather scary territory for me. And so I was out in California finding myself in the studio with all the top guns: Dr. John , Ry Cooder, David Lindley; I mean, all the fabulous guys that played on my first album. And I had been working with a young guitarist named David Nichtern when I first separated from Geoffrey. He was very encouraging and told me, 'You can do this.' I was just sobbing and I was a mess.

We had a little talk and he would say, 'Look, people still know you from the Jug Band, and if I can get work in these little coffee houses, you can, too.' And so we put together a few tunes, and he got us some gigs. This was real low-profile stuff. I'd be crying all the way up to the gig, and he'd say, 'Okay, dry your eyes and wash your face. We're on in half an hour.' And he was just a very supportive little brother to me. And so when I found myself out in California doing this solo album, I was going to do one of his songs. He's a very lovely songwriter and he'd written this beautiful song called 'I Never Did Sing You a Lovesong.' Very lyrical little waltz-y, kind of a country waltz kind of thing. And he knew I had all these really fabulous musicians at the studio. But he came out on his own dime, because he just felt, well, maybe they'll let him play rhythm guitar on his own tune or something.

So he came on out in his little VW bug and slept on a mattress on my living room floor in the Hollywood Hills and came to the studio, was observing everything, and did get to play on his own song. And then we were almost finished recording, the producer came in the studio and said, 'You know, I've been listening to the rough mixes, and I think we're in pretty good shape.' He said, 'You know, we've got some up tempo stuff and we've got some nice ballads. I think if we had one more medium tempo song, then the album would be nicely balanced out, we'd be in good shape. Does anything come to mind?' So David was standing right there, and just off the top of my head, kind of as a gesture of gratitude to him because he had been so supportive to me, kind of holding my hand through all of this, which was very overwhelming, you know, I'd never been in that position before of being a solo artist and trying to make my way through an album that was all about me. And I said, 'Well, David has this song.

It's a funny little song, really, but it is medium tempo.' I said, 'David, play them 'Midnight at the Oasis' and see what you think.' Which I'd heard before and I thought it was just a goofy little song; I didn't think much of it one way or the other. So he whipped out his guitar and started to play it on the guitar, and I sang it. And the producer cocked his head, he said, 'Oh, that's cute, okay, wanna do that one?' So as a gesture to David, I said, 'Yeah, let's do that one. I have no other bright ideas.' And we called in some great studio players and we cut it. And the rest is history." A hit song can become a burden to a singer if she is sick of the song yet still expected to perform it night after night. So how does Muldaur feel about constantly performing this song? She told us: "I still do enjoy singing it. And you know why? Because number one, it was a very hip-ly written song. A lot of the jazz artists have covered it because it's very well constructed.

Imagine my plight if my big hit had been ' Wild Thing ' by the Troggs, a really dumb three-chord song. But it's a song that's so well constructed that an artist can improvise on it night after night. So that's reason number one, it's a cool song. Reason number two is I love the look of the faces of the audience when the band strikes that number up, when the band goes into the intro of that number. Because apparently, from all the stories that have been told to me when I meet my fans after the show to sign my CD, that song was the soundtrack to many a love-and-lust affair, and if I had been writing down all the stories of what people tell me they were doing or were inspired to do because of that song, or as that song was playing, I could have written quite the little x-rated book. So when I start that song, people's faces light up and I see very happy, maybe slightly x-rated memories flitting across their faces.

And so that's worth more than any Grammy nomination or award - to hear first hand from your fans, from hundreds and hundreds of fans, how a piece of music I didn't even write, but that I selected and recorded and just put out there in the airwaves, just had such a happy impact on people's lives. What a gift is that?" In 1994, a version by Brand New Heavies featuring N'Dea Davenport went to #13 in the UK. MARIA MULDAUR – Tickets – Yoshi’s Oakland – Oakland, CA – August 8th, 2016 | Yoshi's MARIA MULDAUR – Tickets – Yoshi’s Oakland – Oakland, CA – August 8th, 2016 Summertime Blues - Vol.

2 - Known worldwide for her hit "Midnight at the Oasis" MARIA MULDAUR Doors: 7:30 pm / Show: 8:00 pm Yoshi's Oakland Links Maria Muldaur is best known world-wide for her 1974 mega-hit “Midnight at the Oasis,” which received several Grammy nominations, and enshrined her forever in the hearts of Baby Boomers everywhere; but despite her considerable pop music success, her 52-year career could best be described a long and adventurous odyssey through the various forms of American Roots Music. During the folk revival of the early '60s, she began exploring and singing early Blues, Bluegrass and Appalachian “Old Timey” Music, beginning her recording career in 1963 with the Even Dozen Jug Band and shortly thereafter, joining the very popular Jim Kweskin Jug Band, touring and recording with them throughout the '60s.

In the 42 years since “Midnight at the Oasis,” Maria has toured extensively worldwide and has recorded 40 solo albums covering all kinds of American Roots Music, including Gospel, R&B, Jazz and Big Band (not to mention several award-winning children’s albums), before settling comfortably into her favorite idiom, the Blues, in recent years. Often joining forces with some of the top names in the business, Maria has recorded and produced on-average an album per year, several of which have been nominated for Grammy and other awards. Her critically acclaimed 2001 Stony Plain Records release, Richland Woman Blues, was nominated for a Grammy and by the Blues Foundation as Best Traditional Blues Album of the Year, as was the follow up to that album, Sweet Lovin’ Ol’ Soul. Her timely 2008 album, Yes We Can!, featured songs from some of the most socially conscious songwriters of the past half century: Bob Dylan, Marvin Gaye, Allen Toussaint, Garth Brooks and others, and featured her “Women’s Voices for Peace Choir,” which included: Bonnie Raitt, Joan, Baez, Jane Fonda, Odetta, Phoebe Snow, Holly Near and others.

For her 2009 release, Maria revisited her original Jug Band roots, teaming up with John Sebastian, David Grisman and Dan Hicks. Maria Muldaur & Her Garden of Joy garnered Maria her 6th Grammy nomination, and was also nominated for Best Traditional Blues Album of the Year by The Blues Foundation. In 2011, detouring from her ongoing exploration of acoustic Vintage Blues, Maria released Steady Love, returning to her much-beloved New Orleans (the place she calls her “musical and spiritual home”) to record a contemporary electric Blues album that reflects the kind of music she loves to perform live - what she calls “Bluesiana Music” - her own brand of New Orleans-flavored Blues, R&B and “Swamp Funk.” Steady Love reached #1 on the Living Blues Chart, and garnered her another nomination for Best Traditional Female Blues Artist from the Blues Foundation.

In 2012, for her 40th album, Maria produced ….First Came Memphis Minnie, a loving tribute to the pioneering Blues woman who inspired and influenced so many female Blues artists who followed in her footsteps, many of whom joined Maria on this special project: Bonnie Raitt, Phoebe Snow, Ruthie Foster, Koko Taylor and Rory Block accompanied by the amazing guitar work of Del Rey, David Bromberg, Alvin Youngblood Hart, Roy Rogers, Bob Margolin, Steve James and Steve Freund. Maria considers Memphis Minnie to be a trailblazing musical pioneer for all women, but also a personal Blues hero.

“From that first moment I heard her soulful music on an old scratchy 78 to this,” says Maria, “Memphis Minnie, and the example she set for me, has remained a profound influence on my life and my music.” In 2013, taking a brief hiatus from her yearly recording schedule, Maria focused on 3 special collaborations, performing worldwide with her old Jug Band mates, in a series of 50th Anniversary Kweskin Jug Band Reunion concerts, teaming up with the Campbell Brothers, world-renowned Sacred Steel Gospel artists, for a very special presentation entitled, “Spirit & The Blues”, touring as Special Guest Artist with Bill Wyman and The Rhythm Kings. as well as continuing to perform with her own Red Hot Bluesiana Band. 2014 marked 40 years since her big hit “Midnight at the Oasis” was riding at the top of the pop charts and she has released 40 albums in that time!!! To celebrate this milestone, Maria created a multi-media retrospective - WAY PAST MIDNIGHT, chronicling her 52 year journey “to the Oasis and Beyond”.

This special presentation features all her hits, & her most-requested-over-the-years "fan faves", as well as the best of her most recent work. She shares stories of her personal encounters, friendships, and collaborations with many of the greatest names in Music, along with photos & videos from her early days in the 60's folk revival with The Jim Kweskin Jug Band, through her years of "pop stardom", & on to her continuing exploration of American Roots Music, Blues, Bluesiana, Jazz & Gospel. In 2014 and 2015 Maria toured extensively throughout the United States and Canada with her Way Past Midnight show. Maria Muldaur continues to tour regularly worldwide, and is available for festivals, concerts, club dates, workshops and residencies. Venue Information: Top 100 Popular Songs of 1974 1974's Top 100 Pop Music Hits 1. Sweet Home Alabama - Lynyrd Skynrd From their second album, ironically titled, Second Helping, this Southern rock band made history with this milestone song.

Bassist/Guitarist for the band, Ed King, said the notes for the song came to him in a dream, which he introduced to the band the next day. "Sweet Home Alabama" was also written as a response to Neil Young's "Southern Man" and "Alabama", which addresses racism. References to the song can be found in movies, ad campaigns and even license plates. 2. Tubular Bells - Mike Oldfield We're dealing with Oldfield here. It's fair to say the man who brought a record label (Virgin Records) to life and a new age of music to the listener set the bar pretty high. "Tubular Bells" included 20 different instruments, which he all played, layed over each other for the ultimate recording. The original song, from 'The Exorcist" also includes 3 sequels that have been recorded over time. 3. Takin Care Of Business - Bachman Turner Overdrive (BTO) As epic as the song is, the chain of events that led up to creation is equally significant. Originally inspired by a recording technician, Randy Bachman's song was shut down for fear of the Beatle's suing BTO for similar guitar riff.

At a live show, the lead singer's voice gave out, forcing Randy to take over and premiere "Takin Care of Business", a catch phrase he heard over the radio earlier that same day. 4. The Loco-motion - Grand Funk Guitarist Mark Farner unintentional provoked "The Loco-Motion" when he was caught whistling the tune in the studio. This song particular is done in numerous renditions and by many different performers, including Kylie Minogue, Sylvie Vartan, Carole King and La Toya Jackson. Little Eva made The Loco-Motion a number 1 hit in 1962. It has reached top 10 singles charts 20 in different countries. 5. Piano Man - Billy Joel Dubbed Billy's "signature song", this story shares his personal battle with failure and "hiding" away from his first album disappointment. As a piano-lounge singer reflects on different characters he met at the Executive Lounge in LA, where he worked under the name Bill Martin. 6. Can't Get Enough Of Your Love Babe - Barry White 7. Hooked On A Feeling - Blue Sude (late 1990's "the dancing baby song") 8.

The Way We Were - Barbara Streisand 9. Kung Fu Fighting - Carl Douglas 10. Jungle Boogie - Kool and the Gang 11. For The Love Of Money - O Jays 12. Tell Me Something Good - Rufus 13. Come Monday - Jimmy Buffet 14. Love Is The Message - MFSB/Three Degrees 15. Come and Get Your Love - Redbone 16. Mockingbird - James Taylor and Carly Simon 17. Don't You Worry 'Bout a Thing - Stevie Wonder 18. When Will I See You Again - The Three Degrees 19. Seasons In The Sun - Terry Jacks 20. Dancing Machine - Jackson Five 21. Wishing You Were Here - Chicago 22. Sunshine On My Shoulder - John Denver 23. Waterloo - Abba 24. TSOP (The Sound of Philadelphia) - MFSB 25. Hollywood Swinging - Kool and the Gang 26. Bennie and the Jets - Elton John 27. Beach Baby - First Class 28.

Don't Let The Sun Go Down On Me - Elton John 29. Jazzman - Carole King 30. I Shot The Sheriff - Eric Clapton 31. Living For The City - Stevie Wonder 32. The Air That IBreathe - The Hollies 33. The Joker - Steve Miller Band 34. You're Sixteen - Ringo Starr 35. It's Only Rock and Roll - Rolling Stones 36. (You're) Having My Baby - Paul Anka with Odia Oates 37. Radar Love - Golden Earring 38. I'll Have To Say I Love You In A Song - Jim Croce 39. Let It Ride - Bachman Turner Overdrive (BTO) 40. I Won't Last A Day Without You - The Carpenters 41. Smokin In The Boys Room - Brownsville Station 42. The Payback - James Brown 43. Midnight Rider - Greg Allman 44. Rebel Rebel - David Bowie 45. Living in the USA - Steve Miller Band 46. Annie's Song - John Denver 47.

Another Saturday Night - Cat Stevens 48. Midnight At The Oasis - Maria Muldaur 49. You Ain't Seen Nothing Yet - Bachman-Turner Overdrive 50. Oh Very Young - Cat Stevens 51. Free Man In Paris - Joni Mitchell 52. You And Me Against the World - Helen Reddy 53. Rock And Roll, Hoochie Koo - Rick Derringer 54. Whatever Gets You Through The Night - John Lennon 55. Doo Doo Doo Doo Doo (Heartbreaker) - Roling Stones 56. Billy Don't Be A Hero - Bo Donaldson and the Heywoods 57. I've Got The Music In Me - Kiki Dee 58. Then Came You - Dionne Warwick and the Spinners 59. The Bitch Is Back - Elton John 60 Cat's In The Cradle - Harry Chapin 61. Ain't Too Proud To Beg - Rolling Stones 62. La Grange - ZZ Top 63. One Hell Of A Woman - Mac Davis 64. Showdown - Electric Light Orchestra 65.

Jessica - Allman Brothers Band 66. My Melody Of Love - Bobby Vinton 67. Travelin' Prayer - Billy Joel 68. Already Gone - Eagles 69. Don't Eat The Yellow Snow - Frank Zappa 70. What Is Hip? - Tower Of Power 71. James Dean - the Eagles 72. The Real Me - The Who 73. Rikki Don't Lose That Number - Steely Dan 74. Clap For The Wolfman - Guess Who 75. Workin' At The Car Wash Blues - Jim Croce 76. Rock The Boat - the Hues Corporation 77. You make Me Feel Brand New - Stylistics 78. Love's Theme - Love Unlimited Orchestra 79. Best Thing That Ever Happened To Me - Gladys Knight and the Pips 80. Can't Get Enough - Bad Company 81. Life Is A Rock (But The Radio Rolled Me) - Reunion 82. Rock On - David Essex 83. The Night Chicago Died - Paper Lace 84. Do It (Til You're Satisfied) - B.T. Express 85.

Band O The Run - Paul McCartny and Wings 86. American tune - Paul Simon 87. Tin Man - America 88. Haven't Got Time For The pain - carly Simon 89. I Honestly Love You - Olivia Newton-Jon 90. Sure As I'm Sittin' Here - Three Dog Night 91. Eres Tu (Touch The Wind) - Mocedades 92. The Americans (A Canadian's Opinion) - Gordon Sinclaire 93. Painted ladies - Ian Thomas 94. WOLD - harry Chapin 96. In The Mood - Bette Midler 97. Jolene - Dolly Parton 98. Pretzel Logic - Steely Dan 99. Kissin' Time - Kiss 100. Bad, Bad Leroy Brown - Frank Sinatra Maria Muldaur biography, birth date, birth place and pictures Email Print Maria Muldaur is a folk-blues singer who was part of the American folk music revival in the early 1960s.

She recorded the 1974 hit song "Midnight at the Oasis," and continues to record albums in the folk traditions. Muldaur has managed to retain a core of loyal fans over the years with her distinctive mix of soul, blues, jazz, and roots music. She is best known for "Midnight at the Oasis," a major hit that made her an overnight star in the early 1970s. "I was the Tracy Chapman of the time," she told the Washington Post in 1989. "Not that I sound anything like Tracy, but like her I was so different from everything else that was going on at the time and the music so pure that it just rose to the top." Throughout her career, Muldaur has been cited for her "love affair" with the music she performs, which many feel makes even old standards seem new again.

As Mike Joyce remarked in his Washington Post review of a 1994 Muldaur performance at Tornado Alley in Washington, D.C., "As familiar as many of the songs were, Muldaur treated them as if they were still fresh and meaningful to her." Although her mother preferred classical music, Muldaur grew up as a fan of blues and big band tunes. She immersed herself in the active music scene of New York City's Greenwich Village where she spent her childhood years, often joining in on impromptu jam sessions there. After forming an all-female group called The Cashmeres, she declined the opportunity to sign a recording contract at age sixteen because she wanted to stay in school. By then she was becoming more interested in rhythm and blues, especially the music of Fats Domino, Little Richard, Clyde McPhatter, and Ruth Brown. A key influence on Muldaur's musical career was her early exposure to roots music. She frequently got involved with weekend jams in Greenwich Village with blues singers such as Reverend Gary Davis, Mississippi John Hurt, Son House, and Victoria Spivey.

She also become affiliated with The Friends of Old Timey Music, a group that traveled to the rural South to find such legends of roots music as Doc Watson and Mississippi John Hammond Jr. Muldaur was especially interested in the music of Watson, and at one time went to North Carolina to learn how to play the fiddle. While there she developed a deep appreciation of Appalachian music and culture while attending get-togethers on Watson's porch. At the same time she was expanding her repertoire of blues songs, especially those of Bessie Smith and Ma Rainey. In the early 1960s Muldaur became part of the Even Dozen Jug Band with John Sebastian, Stefan Grossman, Joshua Rifkin, and Steve Katz, which recorded an album for Elektra in 1964. After the group broke up, Muldaur became part of the Jim Kweskin Jug Band in Boston and recorded her first version of "I'm a Woman," which later became her theme song. While with the group Muldaur met and married bandmate Geoff Muldaur.

The couple recorded two favorably reviewed albums, Pottery Pie and Sweet Potatoes, with Reprise while living in Woodstock, New York, during the same time that Bob Dylan, The Band, Paul Butterfield, Janis Joplin's Full Tilt Boogie Band, and other noteworthy music makers were living there. Muldaur's marriage ended in divorce in 1972 as her husband was forming the group Better Days with Butterfield. After Mo Ostin, president of Reprise Records, gave her the go-ahead for a solo album, Muldaur came out with Maria Muldaur, which soared to number three on the U.S. charts and went platinum. On the album was the soon-to-be legendary "Midnight at the Oasis," a sultry song with an acclaimed guitar solo by Amos Garrett that made it to number six on the U.S. charts. Her next album, Waitress in a Donut Shop, featured songs by writers such as Kate and Anna McGarrigle and horn arrangements by Benny Carter that gave the album more of a jazz feel. This release made it into the U.S. Top 30, and the album's "I'm a Woman" single rose into the U.S.

Top 20 in 1975. "Maria Muldaur's first two solo albums still stand up today as sterling examples of American roots music," wrote Geoffrey Himes in the Washington Post. Riding the wave of her new fame, Muldaur toured the U.S. in 1975 and then took her act to Europe. Although her next two albums, Sweet Harmony and Southern Winds, made the charts, she lost her recording contract in 1979 because album sales had not lived up to her label's expectations. During the late 1970s she recorded with smaller labels and kept active as a performer, showing up at concerts with artists ranging from Jerry Garcia to Benny Carter. In the early 1980s she ventured into Christian music. She also recorded two critically acclaimed jazz albums and an album of swing music with frequent collaborator Dr. John. In 1992 Muldaur signed with Black Top Records and began devoting herself more to roots music, recording Louisiana Love Call in New Orleans. The album included contributions by Dr. John, Charles Neville, accordionist Zachary Richard, and guitarist Garrett, and received major appreciation from magazines such as Rolling Stone and Billboard.

The release was also awarded the "Best Adult Alternative Album of the Year" by the National Association of Independent Record Distributors. In the Washington Post, Charles Himes called the album "an attractively sung, user-friendly guide to roots music," averring that "Muldaur brings her steady summer night languor to [these songs]...." In her Meet Me at Midnight album, released in the mid 1990s, Muldaur continued her exploration of roots music. Himes wrote: "Muldaur has a smokey voice and slippery sense of phrasing that made Meet Me at Midnight a satisfying return to '70s-style roots-rock." In recent years Muldaur also created her own instructional video for aspiring singers called Developing Your Vocal and Performing Style. She remains popular on the club circuit today, and has recently recorded a tribute to Southern blues music on Telarc Blues called Fanning the Flames. "She [Muldaur] has never been able to completely match the success of 'Midnight at the Oasis,' but her soulful style of blues tinged with jazz is still in demand," claimed the Guinness Encyclopedia of Popular Music.

Her 2005 release Sweet Lovin' Ol' Soul was nominated for both a W.C. Handy Award and a Grammy award in the Traditional Blues Category. Selective Works: -Waitress in a Donut Shop, Reprise, 1974, reissued, 1993. -Gospel Nights, Takoma, 1980. -There Is a Love, Myrhh, 1982. -Live in London, Making Waves, 1987. -On the Sunny Side, Music for Little People, 1991. -Meet Me at Midnight, Blacktop, 1994. Maria Muldaur A Little About Maria's Most Recent Releases MY 40TH ALBUM is a loving tribute to the late, great Memphis Minnie titled ...First Came Memphis Minnie, & features guest performances by my Soul Sisters Bonnie Raitt, Phoebe Snow, Koko Taylor, Rory Block, and Ruthie Foster, as well as the amazing guitar work of Del Rey, Roy Rogers, Alvin Youngblood Hart, Bob Margolin, David Bromberg, and others.

Creating this CD was a true labor of love for me, as I consider Memphis Minnie to be not only a trailblazing musical pioneer for all women, but my personal Blues hero as well! ~ Way back in the day, in 1963, when I was ‘In My Girlish Days,’ I had the amazing good fortune and privilege of meeting one of the original ‘classic’ Blues Queens, Victoria Spivey, when she was in her late 70s, living in New York City and running her own record label, Spivey Records. She took me to her apartment and played old 78s, looking for songs that would be suitable for my young voice. Of all the tunes she played for me, the one that made the deepest impression was an old scratchy 78 of a haunting, soulful tune called ‘Tricks Ain’t Walkin’’ by Memphis Minnie. I was deeply moved by the song and immediately added it to my repertoire. From that moment to this, Memphis Minnie, and the example she set for me, have remained a profound influence on my life and my music. She has also influenced many other blues artists.

That is why I wanted to collaborate with my Sisters in Music to pay tribute to the woman that inspired us and paved the way for us all! ~FYI: a little bit about Memphis Minnie~ Memphis Minnie not only sang the Blues, she wrote & recorded over 200 of her own songs & played absolutely bitchin' guitar, accompanying herself with a raw rhythmic guitar sound that came to be known as ‘Country Blues'. She recorded for over 40 years and was one of the first blues artists (male or female) to take up the electric guitar in 1942. Her unique Country Blues sound evolved into electric urban Blues, blazing the trail for Muddy Waters, Bo Diddley and countless others that followed. She was tough, determined, talented, and courageous enough to defy and overcome all the racial, social, economic, and gender barriers that existed in her time, forging the life she envisioned for herself on nothing but her own terms! STEADY LOVE Click here to listen to an excerpt from STEADY LOVE , and don't forget both of these albums would make great gifts, so visit the Amazon store on my website to purchase them!

(Go to page 5 in the store to find both of these albums!) I want to thank all my loyal friends & fans who came to all of our shows this year, and purchased my CDs. I deeply appreciate your loyalty, and encourage you to continue to ~SUPPORT LIVE MUSIC!~ “One of the greatest albums of the year.” - John Shelton Ivany, JSI’s Top21 Syndicated Column, 9/26/11 # “If there’s an underlying theme to the collection, it’s simply that there is a thread that connects this music. There are echoes here of the way Ray Charles turned gospel into secular gold, and Muldaur shows that spirituality can still rock out – the sacred and the profane aren’t all that far apart, and spirituality can still temper earthly desire without corrupting the former or diluting the latter. There’s not a single weak outing in Muldaur’s now-extensive discography, but this just might be one of her best.

Highly recommended!” - John Taylor, Blinded by Sound, 10/7/11 # “[Her latest release, STEADY LOVE] continues the winning streak she’s been on for the last decade and finds a clearly energized Muldaur in New Orleans surrounded by a first rate assembly of musicians and background vocalists. With her characteristic sly, sexy vocals, she dips into swampy funk...[The] title track is a top notch slab of southern soul and the Percy Mayfield classic, Please Send Someone to Love gets a slow torchy treatment that showcases Muldaur’s [soulful] vocal chops. While she is no longer the young chanteuse that made Midnight at the Oasis such a sexy come on in 1974, the intervening years have added a knowing wink to Muldaur’s voice that makes it real clear when she sings on Arthur Adam’s Get You Next To Me “If you want my Peaches, come on and shake my tree”, only a fool would turn down the invitation! Steady Love is a fine entry into Muldaur’s immense catalog of great music.

“ - Mark Smith, Blues Source, 10/17/11 # ““Soul & grit” emanates from Muldaur’s voice on every track of this impressive CD – Muldaur and the band excel at all levels. ...A triumph!” - Mick Rainsford, Blues in Britain, 10/6/11 # “Muldaur has one foot in church and another in a Saturday night juke joint as she belts out hand-clapping church rousers, soul ballads and greasy swamp stompers. Over the years her voice has only gotten better, with her pipes now displaying a lusty, full-bodied resonance. On “Steady Love” the 68-year-old proves she’s one hot N’awlins mama who is way beyond that Oasis at midnight.”- Eric Feber, The Pilot, 10/12/11 # “Maria Muldaur and her sweet, sultry voice literally helped to define the term "Americana," and she's a national treasure. She's recorded songs that have crossed many genres, and she appeals to fans of all ages.

Get ready for a cool road trip down to N'awlins with "Steady Love!"” - Sheryl & Don Crow, Nashville Blues Society, 9/26/11 # “Perhaps nothing points up the timeless quality of this music as well as her performance of “Please Send Me Someone to Love.” Muldaur makes Percy Mayfield’s classic 1950’s ballad sound like a wrenching lament for the world we’re living in right now.” - Nick Critiano, Boulder Daily Camera, 10/7/2011 # “[STEADY LOVE] is a sure fire winner all the way for Ms. Muldaur.

Fans of her earlier, more commercial releases are sure to enjoy this, as will lovers of her more recent Blues albums for Stony Plain.” - Waverley McTavish, Blues & Rhythm (UK), 9/26/11 ~ Peace & Blessings ~ Maria Muldaur - Biography - IMDb Maria Muldaur Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trivia (4) | Personal Quotes (1) Overview (2) Maria Grazia Rosa Domenica D'Amato Mini Bio (1) Folk and blues singer Maria Muldaur was born as Maria Grazia Rosa Domenica D'Amato on September 12, 1943 in Greenwich Village, New York City. At age five, Maria was already singing Kitty Wells ' "It Wasn't God Who Made Honky Tonk Angels", with her aunt accompanying her on piano. Muldaur became an aficionado of rhythm and blues music in her teen years and formed her own girl group called "The Cashmeres" in high school. She eventually began participating in jam sessions in the Greenwich Village area and joined the band, the Friends of Old Timey Music.

Maria traveled to North Carolina and studied bluegrass fiddle with noted folk/country musician Doc Watson. She then returned to New York and became a member of the group, the Even Dozen Jug Band. After that group broke up, Muldaur moved to Boston, Massachusetts and joined the Jim Kweskin Jug Band, where she met her future husband, Geoff Muldaur . After the group disbanded in 1968, Maria and Geoff became a duo and recorded two albums on the Reprise record label. The couple split up both personally and professionally in 1972. Muldaur subsequently embarked on a solo career. In 1974, she scored her biggest and best-known hit with the sultry song, "Midnight at the Oasis", which peaked at #6 on the Billboard pop charts in 1974. The follow-up song, "I'm A Woman", likewise did well. Maria has since gone on to record and release a slew of well-received albums throughout the years.

Her 1992 album, "Louisiana Love Call", garnered a wealth of glowing plaudits from critics and was named the "Best Adult Alternative Album of the Year" by the National Association of Independent Record Distributors. Moreover, the 1994 album, "Meet Me at Midnite", was nominated for the W.C. Handy Blues Award while the 2001 album, "Richland Woman Blues", was nominated for a Grammy Award for Best Traditional Blues Album. More recently, Muldaur has specialized in tribute albums which include 2002's "Animal Crackers in My Soup (The Songs of Shirley Temple)", 2003's "A Woman Alone with the Blues (Remembering Peggy Lee)" and 2006's "Heart of Mine: Love Songs of Bob Dylan". Maria Muldaur released her latest album "Yes We Can!" in July, 2008. - IMDb Mini Biography By: woodyanders Spouse (1)

Question: Who had a 1974 UK/US hit record with 'Midnight at the Oasis'?
Answer: Maria Muldaur